enemies took advantage of to accuse him of a præmunire. An indictment was served against him, containing fifty-six charges—most of which were of the most frivolous nature. On the accession of Queen Mary he was charged with heresy, and was brought with Hooper, Bradford, Rogers, Saunders, and others, before Bishop Gardiner of Winchester, by whom he was coarsely treated, and then remanded to his own diocese to be tried by Morgan, his successor. The principal charges preferred against him were, that he allowed the priests to marry; denied the bodily presence in the sacrament and the propitiatory character of the mass; refused to elevate and adore the host; and asserted that man was justified by faith alone. All these were denounced by Morgan as damnable heresies. Pardon was offered, upon condition that he would conform to the catholic church; but Dr. Ferrar refused answering, until he had evidence of the commission and authority of Morgan. After several examinations Dr. Ferrar still refused to renounce his faith, whereupon Morgan degraded him from his ecclesiastical functions, and handed him over to Mr. Leyson, the sheriff of Carmarthen, for punishment. He was burned at Carmarthen on the 30th of March, 1555. It is recorded that a young gentleman, called Jones, condoled with the bishop on the severity of the sentence, when he got the remarkable answer—"If you see me once stir, while I suffer the pains of burning, then give no credit to those doctrines for which I die." He stood perfectly unmoved until a ruffian, named Gravell, beat him down with a staff. The character of Bishop Ferrar has been very differently represented. It would seem certain, however, that the first prosecution against him was alike unwarranted and malicious, and that what followed was owing to his constancy in avowing the protestant faith.—J. L. A.
FERRARA, Andrea, a celebrated maker of swords and rapiers, was an Italian by birth, and settled at Saragossa in Spain in the early part of the sixteenth century. In the opinion of the Spaniards, the best manufacturer was El Morillo, El Moro de Saragoza; but Ferrara is better known in England, because he furnished the magnificent blades which were presented by Ferdinand to our Henry VIII., on his marriage with Katherine of Arragon, and also because his name is found on great numbers of Highland claymores, which, both as relics of the civil wars in Scotland, and as weapons of admirable quality, are highly prized. He made the "Toledos trusty," of exquisite strength, lightness, flexibility, and ornament, of which, says Mercutio, "a soldier dreams." Such Othello "kept in his chamber" as a precious treasure; "a sword of Spain, the ice-brook's temper, a better never did itself sustain upon a soldier's thigh." Specimens are to be seen in the Armeria of Madrid.—T. J.
FERRARA, Ercole da, the name by which Ercole Grandi is commonly known, from his birthplace. He was born about 1462 and is generally said to have been the pupil of Lorenzo Costa; but this is assumed to have been an error of Vasari's for Francesco Cossa. Lorenzo and Ercole were contemporaries and friends, and Ercole appears to have assisted Lorenzo in the Bentivoglio chapel at Bologna in 1483, and to have chiefly resided in that city. Ercole's greatest works are the frescos of the Garganelli chapel in San Pietro, in Bologna, representing the "Crucifixion" and the "Death of the Virgin," destroyed with the chapel in 1605; they occupied the painter twelve years. He died in 1531. His works are very scarce; some fragments of his frescos are preserved in the academy at Bologna, and a few specimens are at Ferrara, chiefly in the Costabili gallery there. The Dresden gallery possesses two of his works; and there is an unimportant example in the National Gallery.—(Laderchi, Pittura Ferrarese, 1856.)—R. N. W.
* FERRARA, Francesco, born at Palermo in December, 1810. He founded in Sicily a statistical journal, the importance of which was immediately recognized by government, who conferred upon him in 1834 the office of director of statistics. In 1847 he published some articles against the policy of the Neapolitan executive, for which he was imprisoned at Palermo. In the following year Ferrara was elected a member of the provisional government who sent him to Charles Albert of Piedmont, to offer the crown of Sicily to the duke of Genoa; the king of Naples having in the meantime treacherously abrogated the constitution. Ferrara remained at Turin, where in 1849 he was appointed professor of political economy in the university. His principal works are "Importanza dell' Economia politica;" "Economia politica degli Antichi;" "Biblioteca degli Economisti," &c.—A. C. M.
FERRARI, Bartolomeo, was born at Milan in 1497. Along with other two pious persons of wealth, he founded an institution for training ministers in knowledge and morality. This institution was confirmed by Pope Paul III. in 1535. The ministers educated in it were called "the regular clergy of St. Paul," and "the Barnabites." Ferrari was appointed general-superior in 1542, and died in 1544.—J. B. J.
FERRARI, Francesco Bernardo, born at Milan in 1556 or 1557. He received a liberal education under the most skilful masters. It is to this bibliographer we owe the formation of the Ambrosian library, whose rare and costly manuscripts were gathered by him in all quarters of Europe, the necessary funds being furnished by the celebrated Cardinal Federico Borromeo. Ferrari was amongst the first scholars elected a member of the Ambrosian college, whose doctors, limited to twelve, were chosen among the most learned men of Europe. Deeply read in sacred history, and an excellent Greek and Latin scholar, he wrote three books, entitled "De Vita sacrarum ecclesiæ catholicæ concionum," which have been reprinted many times at Paris, Lyons, and Utrecht. Ferrari is also the author of another work much esteemed by ecclesiastics, "De antique epistolarum ecclesiasticarum genere," which went also through many editions. Argelati in his Biblioteca degli Scrittori Milanesi, attributes to this writer many other works, which are still inedited; and Tiraboschi considers him as one of the most polished Latin writers of the age in which he lived. Ferrari died in 1669.—A. C. M.
FERRARI, Gaudenzio, was born in Valduggia in 1484, and received his first lesson in painting from Girolamo Giovenone. He attended also the Milanese academy, established by Leonardo da Vinci, and then under the direction of Stefano Scotto; he is said also to have studied with Bernardino Luini. Gaudenzio early distinguished himself by some works, the subjects of which were taken from the Passion of Christ, in the church of the Sepulchre at Varallo, and such was his enthusiasm in his art, that although an established master, he visited Perugia, according to his biographers, to study in the school of Pietro Perugino, where he is said to have formed a friendship with Raphael. Gaudenzio returned to Varallo, and about 1510 executed there, in the church of the Franciscans, the "Crucifixion," and other works from the life of Christ. In 1514 he painted, in oil, the grand altarpiece of San Gaudenzio at Novara, representing the "Marriage of St. Catherine," for which he received one thousand two hundred and fifty francs, fifty pounds sterling. In 1516 he is supposed to have gone to Rome to assist Raphael in the Vatican. In 1524 he left Rome and returned to Varallo; and it was on this occasion that he executed his masterpiece, his celebrated frescos of the "Crucifixion" in the church of San Sepolcro, in which figures are introduced in relief as part of the composition. Varallo, from the great patronage he received, was practically the home of Gaudenzio. He painted also at Vercelli, Saronno, and other places. His last works were executed in the church della Pace, at Milan, where he died in 1549. Gaudenzio Ferrari resembled Leonardo da Vinci not only in style, but in his life and in the variety of his accomplishments; he was distinguished also for his piety—"Opere quidem eximius, sed magis eximie pius," as his friends of Novara said of him. Lomazzo, his countryman, enumerates Gaudenzio among the seven greatest painters of modern times. He excelled in sentiment in his earlier works; but his later oil pictures have more the character, in form, of the Roman school. His execution is elaborate but hard, his colouring positive, crude, and inharmonious. He seems to have been very fond of shot colours. His accessories are introduced and treated without taste, though in their occasional elaboration he appears to have aimed at illusion; or, at least, to have set a high value on imitation. However, he executed many vast works of great power and merit, as the cupola at Saronno; and, though he may not deserve the extravagant eulogy of his scholar Lomazzo, he was undoubtedly one of the greatest masters of his time and country.—(Lomazzo, Idea del tempio della Pittura, 1590; Bordiga, Gaudenzio Ferrari, 1821; Turotti, Leonardo da Vinci de, 1857.)—R. N. W.
* FERARRI, Giuseppe, an Italian philosopher, son of a physician, was born at Milan in 1811; studied at Paris, and took the degree of doctor in law at the age of twenty. A remarkable article on Romagnosi, published in 1835, brought him into notice, and this was followed in the same year by an
